3. Almost every article and interview you've participated in brings up obsession. Can you elaborate?
I think there are different reasons for that. First of all, my process is very time-intensive, meaning a lot of mistakes can appear, which then force me to restart paintings that I had been working on for a long time. Just to withstand the frustration of your favorite painting — the one that really gave you a high at first — drying out so badly over a month that you are forced to throw it away requires a special kind of personality.
Anyway, apart from my studio practice, I’m nowadays an easygoing person, though it wasn’t always like that in the past.
4. What interests you about color? Are the choices intuitive or pictoral?
I see color even in a black-and-white print. What I’m saying is color is an essential quality in my work.
There is quite often this interplay between abstraction and figuration in my paintings, which color helps with. The range of colors are a result of the combinations found in the finished paintings. So far, the choice of colors is pictoral, but in itself, in its own quality, the use is intuitive.
5. Can you talk a little bit about what work you're bringing to Independent?
I’ve been working on this body of paintings for almost ten years now. The paintings I’m bringing to Independent were made during the last two years. They all move along a basic line that I set at the beginning. Size, material, and technique have changed slightly during these years.
Anyway, each period and each show has its own character. My last show in London, a two-person show with Nicole Wermers, for example, had in its minimalism a pretty tough and rough personality. Not friendly, but a lot of space where you could pose good questions about surface, extensions of painting into real space, painting as an object, space and illusion, etc.
Finally, I’ll know what I’ve done for Independent when the decisions of which ones I’ll show and how I’ll install them are made. I do not really believe in architectural models and prefer to make all decisions on site. Therefore, sorry, the answer cannot be given until the paintings are on the wall.